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Creative Cow forum host: Floh Peters

COW Leaders : Floh Peters
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Floh Peters
Floh Peters
http://www.magiceye.de
Hurth, Germany
Hurth,  Germany


"Floh Peters has been with Media 100 844/X since the very beginning, having worked with the system while it was still in Beta," says Creative Cow director, Kathlyn Lindeboom, "therefore, when Media 100's European office recommended him as a leader for the new 844/X community, we were very pleased when he wrote back saying he'd like to join the Cow Team. Floh's experience in both the audio and video side of things -- as well as his artistic skills and talents -- make him a real asset to the Cow Team and its members. We look forward to working with Floh and getting to know him better in the days ahead."

Floh was born in Cologne, Germany and started his media career in audio. "Later, I switched to video in 1993," says Floh. "After working in audio production for various TV shows, some of my partners thought it would be a good idea to start a video company. Without knowing anything about video, they founded 'Magic Eye,' the company I work for today. We had the opportunity to approach things differently from the other companies that already existed in our area. We were very much computer-based in our audio production tools, so we thought there should also be a way to do video on computers. After looking around, we decided to buy two Matrox Studio linear-editing systems -- which turned out to be both a good and a bad decision at the same time. For us, they had many advantages over traditional linear-editing systems; they were PC-based and this gave us some opportunities -- especially with a PC-based graphics station which was quite unusual at the time (Paintbox ruled the market). The Matrox systems had broadcast-quality output, which was much better for our needs than an Avid system -- which at the time had no online quality. On the other hand, the system was brand new (v1.0) and nobody had any experience with it. Since we knew very little about video, we had to learn everything the hard way -- especially since no one could help us much as there were very few systems around. As my knowledge about the hardware grew, I became responsible for the technical side of the company. All the computer installations have since been done by me."

How did Floh end up with Media 100? It wasn't the most direct route to say the least and Floh says about the experience: "In 1996 we had to look into buying a nonlinear editing system and we discovered quite fast that we would go a different way ... again. Everybody was buying Avid systems but since we did not like Avid's philosophy and market approach -- you have to buy Avid disk drives, you have to pay for every compression rate, etc. -- we looked at other alternatives. We almost bought a D-Vision ... I say 'almost' because the distributor did not deliver the system we had ordered. Later, we almost bought a StrataSphere but after ordering it, we saw a beta-system on a road-show and realized that their software was far from finished -- and we were right, the actual shipping product was delayed for another nine months. So, we decided to rent a Media 100 system for a job we had to do the next week. And again I had to learn it the hard way: I had 48 hours until I had to go to work with the clients on the system but since the Media 100 interface was very intuitive, the project went well and we bought our first Media 100 system. This was the time I fell in love with the Mac. Over the next few years, we got very much into After Effects because of the open QuickTime architecture of Media 100."

As to the type of projects that Magic Eye has worked on over the years, Floh explains: "Through my old music contacts, we managed to produce some music videos and we also got into producing commercials. Magic Eye started to work in two different areas: on one side, still doing editing and compositing for comedy shows; on the other hand, creating commercials, music-videos and films for big events -- like the opening show for last year's IAA and for shows form Daimler/Chrysler, Land Rover and Citroën to name a few. Therefore, we improved our workflow with additional Media 100 systems and a FibreChannel network with shared storage for all the systems. This enabled us to create HD-projects with shared renderings on our systems. And my knowledge of the systems got better and better, since there was nobody who could help me configure the systems and I had to figure out all the problems mainly on my own. Through the years our contact to Media 100 got better and better and I participated on several hardware and software beta tests for the Media100i line. At IBC 2001, I got first-hand info about the upcoming 844/X. Shortly after IBC, I was invited to London by Rob Pickering to take a look at 844/X. I spent a day with Rob Sonner from Media 100 US playing around with the system, and Rob Sonner and Rob Pickering recommended me as one of the five initial betatesters for 844/X. In November 2001, we got our beta-system and started playing around with it. Through the 1.0 and 1.1 beta test, I was able to influence much of the development of the system and the guys at Media 100 started to call the 1.1 release the WorkFloh release -- but unfortunately, for me at least! -- they had a typo in their press release and called it the 'workflow' release."

About his self-professed love of the Mac and squaring it up with a system that is PC-only, Floh says: "Although it is still not a Mac, the 844/X is a very impressive system and through its QuickTime base, it has integrated quite well into our production environment. In our commercial production, the 844/X has already given us many advantages in our workflow. With the good contact that we have had with Media 100, our experiences and wishes -- like exchange between Media 100i and 844/X through OMF and later AAF -- are taken serious. I hope that some of my other requests will make it into 2.0. We will see..."

Floh is an integral part of our Media 100 844/X leadership team and you can find him exchanging ideas with the community there.

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You can find Floh Peters hosting in Creative COW's Media 100, and Media 100 844/X Forums.

Floh Peters Profile

Articles by Floh Peters

Media 100
VoiceOver Recording in Media 100 Suite

VoiceOver Recording in Media 100 Suite
  Play Video
In this video tutorial, Floh Peters takes a look at Media 100 Suite's new VoiceOver Tool. The VoiceOver Tool allows direct-to-timeline audio recording while playing back timeline audio and video. Primarily designed for recording narration, the VoiceOver Tool leverages Media 100 Suite's new MultiClip architecture to allow for multiple takes nested inside a single audio clip in the timeline.

Tutorial, Video Tutorial
Floh Peters
Media 100
MultiClip Editing in Media 100 Suite

MultiClip Editing in Media 100 Suite
  Play Video
In this new video tutorial, Floh Peters of Magic Eye takes a look at Media 100 Suite's new MultiClip Editing feature. Ideal for music videos, studio and on-location television, concerts, and live events, MultiClip Editing facilitates real-time editing of multiple video and audio sources in a familiar, easy-to-use interface. A camera can be added to an existing MultiClip as its source media becomes available, allowing you to begin cutting a multicam shoot faster than ever before. Cameras can be synced via timecode, sync marks, or in-points. When syncing via timecode, additional footage can even be assigned to an existing camera - extremely helpful in situations where a camera has been stopped to change tapes or batteries.

Tutorial, Video Tutorial
Floh Peters
Media 100
New Audio Mixing Features in Media 100 Version 13

New Audio Mixing Features in Media 100 Version 13
  Play Video
In this Media 100 video tutorial, Floh Peters of Magic Eye (Germany) takes a look at Media 100 Version 13's new multi-channel audio output capabilities. With Version 13, you can assign multiple audio tracks to virtual buses and process each bus separately in the timeline. Each bus can separately master to one or more output hardware channels.

Tutorial, Video Tutorial
Floh Peters
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